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amus 
and Thisbe. 



BY 



FRANK RAYMOND HARRIS. 




PRICE 15 CENTS 



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Eldridge Entertainment House 

Franklin, Ohio 







CANTATiiS AND PLAYS FOR SCHOOLS. 



MID-SUMMEIR EVE. Words by ^Elizabeth Cij^^m, 

music by Harry G, Eldridge, A spectacular, musical fairy 
play for 32 characters; 5 female and 3- male principals and 
choruses of Elves, Will-o*-the- Wisps, Flowers, etc. A number 
Ihighly recommended for its excellence. Music in one part. 
Is not trashy and is well adapted for children's voices. Accurate 
descriptions of costumes and explicit stage directions given. 
(CAST— Dorothy, girl of 8 to 10 years. Queen Mab, girl of 15 or 
16. Herald, boy of 10 or 12. Pages, two very small boys. 
Arbutus and Innocence, two very small girls. Flowers, eight 
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112. Little Green Elves, eight children from 6 to 8. Spirit of 
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Plays about one hour. Price, 40 cents. 

A JAPANESE RECEPTION, by Sister M. Almee. A 
novel school entertainment for 17 little girls, varying in size 
and age from 7 to 14 years. This entertainment was arranged 
and produced with great success at a leading girls' school for 
the purpose of illustrating school work in the departments of 
singing, elocution, Delsarte, and the foreign languages. It is 
adapted to the use of any school, however, whether the foreign 
languages are taught or not. With a little w^ork on the part 
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boys, if desired. A complete program of songs, recitations 
and drills is given, and the performance runs an hour and a 
half. Price, 25 cents. 

GROWN-UP FOLKS,, by Harry C, Eldridge. A delight- 
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for primary grades. Plays about 40 minutes. Price, 25 cents. 

BRAVEST BOY AT BXI^I^KER HILL, Seymour S. 
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girls, with as many more as desired, to be introduced as soldiers 
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12 to 16 years of age. Easy to costume and stage and intensely 
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ment. Time, 45 minutes. Price, 25 cents. 



SJUU^'^'^^^ ) li).te£^ 



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Pyramus and Thisbe 



The Burlesque Scenes From Shake- 
speare's Midsummer Night's Dream 



Arranged in Two Acts 

With Full Stage Directions and Suggestions. 



By FRANK RAYMOND HARRIS 



Copyright, 1912. Eldridge Entertainment House 



Eldridge Entertainment House 

Franklin, - Ohio 



^^T.^^'^ 






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©CI.D 3.1665 



PYRAMUS AND THISBE. 

Synopsis. 

The hard-handed Athenian mechanicals plan to pre- 
sent a play before Theseus, Duke of Athens, and his 
betrothed, Hippolyta, in honor of their approaching 
nuptials. 

CAST OF CHARACTERS. 
Spectators at the Play. 

Theseus, Duke of Athens. 

Demetrius, a Courtier. 

Lysander, a Courtier. 

Philostrate, Master of Revels. 

Hippolyta, Queen of the Amazons, betrothed to 
Theseus. 

Attendants on Theseus and Hippolyta. 

Characters in the Play. 

Quince, a Carpenter, who gives the Prologue. 

Snug, a Joiner, cast as the Lion. 

Bottom, a Weaver, cast as Pyramus. i 

Flute, a Bellows Mender, cast as Thisbe. 

Snout, a Tinker, cast as the Wall. 

Starveling, a Tailor, cast as Moonshine. 

PYRAMUS AND THISBE. 
ACT 1. 

A Grove near Athens. 
Bottom and his fellow^- workmen meet to rehearse 

the play. 

ACT n. 

The Palace Grounds. 

The play is presented before the Duke. 

Time of Presentation — One Hour. 



INTRODUCTION. 

Shakespeare's Midsummer Night's Dream occupies a 
position absolutely unique in dramatic literature. It is 
altogether original and embodies one of the most beauti- 
ful conceptions that ever visited the mind of a poet. It 
is, as its name implies, a phantasmagory ; a mask of 
shadows, full of marvels, surprises, splendor and gro- 
tesqueness. It is an intricate tangle of love stories, sup- 
ported on the one side by the exquisite fancies of fairy 
life, on the other side by the broadest farce of the clowns 
and their unconscious burlesque of Pyramus and Thisbe. 

Shakespeare has created out of ''airy nothing" the deli- 
cate gossamer of a fairy world and peopled it with the 
phantoms of his marvelous imagination. He has accom- 
plished this feat, not by external effects, but by the 
wonderful imagery of his verse ; he appeals to the mind's 
eye rather than to the eye of sense; and he depends 
upon the co-operation of the spectator for the success 
of his fairy scenes. 

In direct contrast to the poet's own method, he sets 
forth that of Bottom and the rude Athenian mechanicals, 
who propose to celebrate the Duke's nuptials with an in- 
terlude. They are determined to leave nothing to be 
supplied by the imagination. Wall must be plastered; 
Moonshine must carry lantern and bush of thorns ; every 
detail must be carried out with absolute literalness. The 
result is a burlesque, worthy of Shakespeare's genius. 
It is a keen but kindly satire upon ^the expedients of the 
Elizabethan stage and its humor is none the less enjoy- 
able because the authors of it are so entirely uncon- 
scious of their own absurdity. 

In separating the burlesque scenes from the fairy 
scenes, an effort has been made to do as little violence 
to the text of Shakespeare as possible. The first act, 
''The Rehearsal," is made up of several short scenes. 
The connective passages have necessarily been altered 
and a few passages added to preserve the sense of the 
original. With the exception of the transposition of 
two short speeches in the second act, no further changes 
have been made. 



In its present form, Pyramus and Thisbe does not 
possess the fragmentary character that isolated scenes 
from dramas so often possess. Its story may be under- 
stood and appreciated by an audience, unversed in Shake- 
spearean lore, without a previous knowledge of the con- 
nection in which the scenes were originally used. It is 
well within the scope of amateurs and is peculiarly 
suited to Commencement exercises where a play of liter- 
ary merit, not too long in the presentation, is desired. 

SUGGESTIONS. 

Pyramus and Thisbe is a burlesque, pure and simple, 
and it should be played in the spirit of burlesque. The 
Athenian mechanicals may do the most ridiculous things 
but they must do them in deadly earnest. Bottom and 
his fellow^s take themselves in all seriousness, however 
the spectators may regard them. There is ample oppor- 
tunity throughout the play for by-play but it should be 
free and spontaneous and not forced. The suggestions 
for stage business are intended to be suggestive and not 
exhaustive. The clever actor will discover many oppor- 
tunities to round out his part. In the second act, where 
Bottom and Flute impersonate Pyramus and Thisbe, the 
declamatory passages should be given in mock-heroic 
style, with many gestures. 

Bottom is an overweening egotist; the others are his 
humble admirers. Much of the success of the produc- 
tion depends upon the acting of Bottom and great care 
should be exercised in casting the part. If a boy of 
slight build is cast as the Lion, it will add to the effective- 
ness of the part The weaker the roars he emits, the 
more effective they will be. 

The scrolls used by the players may be made of brown 
cloth with a stick at each end, so that they may be 
rolled up. 

CHARACTERS. 

There are speaking parts for ten male characters and 
one female character. As many spectators, male and 
female, may be added as desired. Two of the male parts, 
Lysander and Philostrate, may be assumed by girls. In 

5 



this event, it would be well to change the name of 
Lysander to Helena on the program. The entire cast 
may be made up of girls, if desired. 

STAGE SETTING. 

If the play is given in a well-equipped theatre, the 
problems of stage management are readily solved. The 
scene is unimportant. In the Midsummer Night's 
Dream, most of the rehearsal scenes take place in 
Quince's house and the play itself is presented in an 
apartment of the palace. It is more effective to place 
both scenes out-of-doors. Even in the well-equipped 
theatre, it adds greatly to the beauty of the presenta- 
tion, to bank the stage with boughs and potted plants. 

A very pretty and inexpensive stage setting may be 
made by the use of wide-meshed chicken wire for back- 
ground and wings, interwoven with boughs and twigs. 
The same setting will be suitable for both acts. 

No set-pieces are required in the first act. In the 
second, one seat only is required. This should be cov- 
ered with a fur robe or painted to represent a marble 
bench. Theseus and Hippolyta are seated on this bench 
at the extreme right. The spectators group themselves 
behind them. In case a large number of spectators is 
desired, some may be stationed upon the extreme left. 

Only three entrances are required; one at the center 
(C) ; one at the right (R) ; and a third at the left (L). 
Both the right and left entrances should be at the rear 
of the stage. 

COSTUMES. 
The costumes are Greek, and in case they cannot be 
readily rented from theatrical costumers, they may be 
made with little difficulty. Cheese cloth may be used 
but a better material is sateen. For the female char- 
acters, make a long robe, with short sleeves and low 
neck, very much like a Mother Hubbard. Over this, 
the himation is draped. This consists of a piece of 
cloth, 12 feet long and 6 feet wide and may be draped 
around the shoulders and body to suit the wearer's fancy. 
Both the himation and the undergarment should be 

6 



trimmed with a broad border of some Greek design.. 
The border may be made of silver or gilt paper, sewed. 
upon the garment, or better still, a stencil may be cut 
from card-board and the design painted upon the gar- 
ment in gold, silver or other colors. This design may 
consist of the Greek border shown in so many pictures 
of Greek costumes, of leaves and flowers, or even of 
one or two narrow stripes. 

For the male characters, make short tunics, reaching 
above the knees and fastened with belts at the waist. 
Over this the himation may be draped or it may be 
dispensed w4th entirely. The above costumes are appro- 
priate for the spectators, who may be as few or as 
numerous as desired. In getting up the costumes, aim 
at variety, grace and beautiful colors. The following 
suggestions may be of assistance: green with a border 
of gold; light blue and silver; deep blue and white; 
orange and black or gold; white and blue; red and gold 
or black; black and silver or white; brown and gold; 
gray and silver. A very pleasing effect may be obtained 
by using different colors for the undergarment and the 
drapery. For example, a himation of green trimmed 
with gold, may be draped over a tunic of orange trimmed 
with black. 

The male characters should wear a band of gold, 
about an inch in thickness, about the head. This may 
be made from gilt paper, pasted on cloth. A Psyche 
knot, w4th fluffy hair, held in place by a fillet, wound 
two or three times around the hair, is an appropriate 
head dress for the female characters. A broad band 
of gold may be worn both by the male and female char- 
acters around the arm, between the elbow and the shoul- 
der. If sandals cannot be procured, low slippers form 
a satisfactory substitute. The male characters should 
wear pink or white hose and bind the ankles and feet 
with strips of cloth, in harmony with the costumes. 

The costumes of some of the prominent characters 
require special attention. 

Theseus should wear a short tunic of white, richly 
embroidered with gold, with a long cape of deep red. 



He should wear a helmet or crown upon his head. An- 
other appropriate costume would be a long robe of red 
richly embroidered, with heavily- jeweled turban. 

Hippolyta should wear a long flowing robe that sweeps 
the ground. The more richly it is stenciled and em- 
broidered, the better. She also wears a crown. 

Bottom and his fellow-workmen should be clad in 
short tunics of some dark material, with belts. There 
should be no drapery. Several changes of costume are 
necessary »in the second act. Bottom should wear a 
gaudy tunic with a cape. He wears a helmet and car- 
ries a sword. Flute, who represents a woman, should 
be so attired. His himation should be worn so that it 
may readily be dropped. Snug, who represents the Lion, 
should wear some material around his shoulders that 
would suggest the lion's skin. The lion's head may be 
fashioned out of heavy paper, appropriately painted. 

Snout, who presents the Wall, may cover himself 
with lime and dirt and carry a stone in his hand, or he 
may have a wall painted on card-board and suspended 
from his shoulders, in the manner in which the sand- 
wich-men carry their advertisements. 

Starveling carries a lantern, suspended on a pole, a 
bundle of thorn twigs, and leads a dog. The lantern 
is easily made of card-board, open on all four sides and 
painted black. 




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Pyramus and Thisbe. 

ACT I. 

A Grove near Athens. 

{Starveling enters from R, zvith three-legged 
stool and piece of cloth. Crosses to L front, 
seats himself and begins to sew. Bottom and 
Snout enter from L, Flute and Snug from R, 
engaged in conversation. They meet at R C. 
and greet each other. Flute enters from C with 
a bundle of scrolls, and after looking around, 
begins to speak. There is ample opportunity 
for by-play in this scene.) 

Quince. Is all our company here? 

Bottom. You were best to call them generally, man 
by man, according to the scrip. 

Quin. Here is the scroll of every man's name, which 
is thought fit through all Athens, to play in our interlude 
before the Duke and Duchess on his wedding-day at 
night. 

Bot. First, good Peter Quince, say what the play 
treats on ; then read the names of the actors ; and so 
grow to a point. 

Quin. Marry, our play is ''The most lamentable Com- 
edy and most cruel Death of Pyramus and Thisbe." 

Bot. A very good piece of work, I assure you, and a 
merry. — Now, good Peter Quince, call forth your actors 
by the scroll. — Masters, spread yourselves. 

{Bottom's speech ''A very good piece of work, etc.," 
is addressed to Flute. "Now, good Peter Quince'' is 
addressed to Quince. Bottom pauses when he says ''Mas- 
ters" and Snug, Flute and Snout gather around him. 
Then he throws out his arms saying, ''Spread your^ 
selves.") 

9 



Quin. Answer as I call you. Nick Bottom the 
Weaver. 

Bof. Ready. Name what part I am for, and proceed. 

Quin. You, Nick Bottom, are set down for Pyramus. 

Bot. What is Pyramus? a lover or a tyrant? 

Quin. A lover, that kills himself most gallantly for 
love. 

Bot. That will ask some tears in the true perform- 
ing of it: if I do it, let the audience look to their eyes; 
I will move storms, I will condole in some measure. To 
the rest. — Yet my chief humour is for a tyrant: I could 
play .Ercles rarely, or a part to tear a cat in, to make 
all split. 

The raging rocks 
And shivering shocks 
Shall break the locks 

Of prison-gates; 
And Phibbus' car 
Shall shine from far. 
And make and mar 

The foolish Fates. 

This was lofty ! — Now name the rest of the players. — 
This is Ercles' vein, a tyrant's vein; a lover's is more 
condoling. 

(The first part of Bottom's speech is addressed to 
Quince. Then he turns to Snout zvith ''Yet 7ny chief 
humour.^' ''The raging rocks'' should be given with great 
declamatory effect. "Now name the rest of the players" 
is addressed to Quince. Then he turns back to Snout 
zvith "This is Brcles' vein, etc.") 

Quin. Francis Flute the Bellows Mender. 

Flu. Here, Peter Quince. 

Quin. You must take Thisbe on you. 

Flu. What is Thisbe? a wandering knight? 

Quin. It is the lady that Pyramus must love. 

Flu. Nay, faith, let not me play a woman; I have a 
beard coming. 

10 



(All crozvd around Flute, feeling his face to see if 
the heard is actually coming. They make gestures of 
dissent.) 

Quin. That's all one ; you shall play it in a mask, 
and you may speak as small as you will. 

Bot. And I may hide my face, let me play Thisbe, 
too: I'll speak in a monstrous little voice; Thisne, 
Thisne, — Ah, Pyramus, my lover dear ! thy Thisbe dear, 
and lady dear! 

Quin. No, no ; you must play Pyramus : — and. Flute, 
you Thisbe. 

Bot. Well, proceed. 

Quin. Robin Starveling the Tailor. 

(Starveling, has been industriously engaged zvith his 
sezving all the time.) 

Star. Here, Peter Quince. 

Quin. Robert Starveling, you must play Thisbe's 
mother. — Tom Snout the Tinker. 

Snout. Here, Peter Quince. 

Quin. You, Pyramus' father ; myself, Thisbe's father ; 
• — Snug the Joiner, you, the lion's part : — and, I hope, 
here is a play fitted. 

(Quince turns and addresses each one as he calls his 
name. He starts to roll up the scroll from zvhich he has 
been reading.) 

Snug. (Anxiously, holding out his hand.) Have you 
the lion's part written? pray you, if it be, give it me 
for I am slow of study. 

Qmw. You may do it extempore, for it is nothing 
but roaring. 

Bot. Let me play the lion, too; I will roar, that I 
will do any man's heart glad to hear me; I will roar, 
that I will make the Duke say, "Let him roar again, let 
him roar again." 

Quin. And you should do it too terribly, you would 
fright the Duchess and the ladies, that they would shriek ; 
and that were enough to hang us all. 

11 



AIL (shaking their heads dolefully). That would 
hang us, every mother's son. 

Bot. I grant you, friends, if that you should fright 
the ladies out of their wits, they would have no more 
discretion but to hang us : but I will aggravate my voice 
so, that I will roar you as gently as any sucking dove ; 
I will roar you an 'twere any nightingale. 

Quin. You can play no part but Pyramus. 

(Bottom, in anger, starts to leave. Snout, Flute and 
Snug run after him and in pantomime try to persuade 
him to return. Quince follozvs him and speaks.) 

Quin. For Pyramus is a sweet-faced man; a proper 
man as one shall see in a Summer's day; a most lovely, 
gentlem.an-like man: Therefore you must needs play 
Pyramus. 

Bot. (returning) . Well, I will undertake it. What 
beard were I best to play it in? 
QiLin. Why, what you will. 

Bot. I will discharge it in either your straw-colour 
beard, or your orange-tawny beard, your purple-in-grain 
beard, or your French-crown-colour beard, your perfect 
yellow. 

Quin. Some of your French crowns have no hair at 
all, and then you will play bare-faced.— But, masters, 
here are your parts. 

(Quince distributes the scrolls. Bach takes his part 
and begins to scan it, rehearsing his lines in pantomime. 
Snug goes oif by himself and begins to roar. This scene 
can be made very effective. Finally Bottom speaks.) 

Bot. Come, let us rehearse our parts obscenely and 
courageously. Take pains ; be perfect. 

Quin. Here's a marvellous convenient place for our 
rehearsal. This green plot shall be our stage, this haw- 
thorn-brake our 'tiring-house; and we will do it in ac- 
tion as we will do it before the Duke. 

(Bottom has been pointing out to Flute certain de- 
fects in the play and both nod their disapproval.) 

12 



Bot. Peter Quince, — 

Qiiin. What sayest thou, bully Bottom? 

Bot. There are things in this Comedy of Pyramus 
and Thisbe that will never please. 

{Piute nods vigorous assent. Quince and the others 
look alarmed.) 

Bot. First, Pyramus must draw his sword and kill 
himself; which the ladies cannot abide. How answer 
you that? 

Snout. By'r lakin, a parlous fear. 

Starv. (still seated on his stool, his attention divided 
betzveen his scroll and his sewing). I believe we must 
leave the killing out when all is done. 

Boi. Not a w^hit: I have a device to make all well. 
Write me a prologue; and let the prologue seem to say, 
we will do no harm with our swords, and that Pyramus 
is not killed indeed; and, for the more better assurance, 
tell them that Pyramus am not Pyramus, but Bottom 
the weaver : this will put them out of fear. 

Quin. Well, w^e will have such a prologue; and it 
shall be written in eight and six. 

Bot. No, make it two more ; let it be v/ritten in eight 
and eight. 

Snout. Will not the ladies be afeard of the lion? 

(Snug, who has been standing near Starveling at this 
moment utters a roar and Starveling falls off his stool.) 

Starv. I fear it, I promise you. 

Bot. Masters, you ought to consider with yourselves : 
to bring in — God shield us ! — a lion among ladies is a 
most dreadful thing; and we ought to look to it. 

Snout. Therefore another prologue must tell that he 
is not a lion. 

Bot. Nay, you must name his name, and half his 
face must be seen through the lion's neck; and he him- 
self must speak through, saying thus, or to the same 
defect, — I^adies, — or. Fair ladies,— I would wish you, — 

13 



or, I would request you, — or, I would entreat you, — 
not to fear, not to tremble; my life for yours. If you 
think that I come hither as a lion, it were pity of my 
life : no, I am no such thing ; I am a man as other men 
are : — and here, indeed, let him name his name, and tell 
them plainly he is Snug the Joiner. 

(Bottom's speech to the ladies should be given with 
extravagant gestures. Snug should try to imitate his 
bozus and gestures.) 

Quin. Well, let it be so. But there is two hard 
things, — that is to bring the moonlight into the chamber ; 
for, you know, Pyramus and Thisbe meet by moonlight. 

Snug. Doth the moon shine the night we play our 
play? 

Bot. A calendar, a calendar; look in the almanac. 

(All crozt'd around Quince who consults a calendar.) 

Bot. (running his finger down the scroll). Find out 
moonshine, find out moonshine. 

Quin. Yes, it doth shine that night. 

Bot. Why, then may you leave a casement of the 
great chamber-window open, where we play our play, 
and the Moon may shine in at the casement. 

Quin. Ay, or else one must come in with a bush of 
thorns and a lantern, and say he comes to disfigure, or 
to present, the person of moonshine. Then there is an- 
other thing: we must have a wall in the great chamber; 
for Pyramus and Thisbe, says the story, did talk through 
the chink of a wall. 

Snug. You can never bring in a wall. — What say 
you, Bottom? 

Bot. Some man or other must present wall: and let 
him have some plaster, or some loam, or some rough 
cast about him, to signify wall; and let him hold his 
fingers thus, and through that cranny shall Pyramus and 
Thisbe whisper. 

Quin. If that may be, then all is well. Come, sit 
down, every mother's son, and rehearse your parts. 

14 



(All seat themselves and open their scrolls. Snug^ 
who has 110 scroll looks over Starveling s shoulder.) 

Qiiivi. Pyramus, you begin: when you have spoken 
your speech, enter into that brake; — and so every one 
according to his cue. 

{Bottom strikes an attitude near the center of the 
stage.) 

Quin. Speak, Pyramus. — Thisbe stand forth. 

{Flute takes his place opposite Bottom.) 

Pyr. {reading). Thisbe, the flowers of odious savour 
sweet, — 

Quin. {prompting). Odours, odours. 

Pyr. {consults his scroll). ^ ■. ' ■ 

— odours savour sweet: / 

So doth thy breath, my dearest Thisbe dear. 
But hark, a voice ! Stay thou but here awhile, 
And by-and-by I will to thee appear. {Exit Pyr. R.) 

This, {to Quin). Must I speak now? 

Quin. Ay, marry, bust you ; for you must under- 
stand he goes but to see a noise that he heard, and is 
to come again. 

This, {reads rapidly). 
Most radiant Pyramus, most lily-white of hue, 
Of colour like the red rose on triumphant brier. 
Most brisky juvenal, and eke most lovely jew. 
As true as truest horse, that never yet would tire, 
'I'll meet you Pyramus at Ninny's tomb. 

Quin. Ninus' tomb, man; why, you must not speak 
that yet ; that you answer to Pyramus : you speak all 
your part at once, cues and all. — Pyramus, enter: your 
cue is past; it is, never tire. 

This. As true as truest horse, that yet would never 
tire. Pyramus re-enters. 

Pyr. An if I were, fair Thisbe, I were only thine; 
And thou, fair Thisbe, were then a swine — 

15 



Quill. Mine, man, not swine. But I see, masters, 
that we can make no headway with this play until all 
of you have conned 3^our parts. Meet me here tomor- 
row night by moonlight : here will we rehearse again. 
Just before we present our play before the Duke. And 
you, Bottom, see that you fail us not. 

(After Quince has corrected him, Bottom goes off to 
one side and sulks. The rest now crowd around him 
anxiously.) 

Flu. If you come not, then the play is marr'd ; it goes 
not forward, doth it? (to Quince.) 

Quin. It is not possible; there is not a man in all 
Athens able to discharge Pyramus but Bottom. 

FliL No, he hath simply the best wit of any handi- 
craft man in Athens. ^ 

(The others nod vigorous assent.) 

Quin. Yea, and the best person, too; and he is a 
very paramour for a sweet voice. 

Snout. You must say paragon: a paramour is, God 
bless us, a thing of naught. 

Flu. If the Duke give him not six-pence a day for 
playing Pyramus, I'll be hanged. 

Snug. ' You will come, won't you. Bottom ? 

(The compliments have had their effect and Bottom 
has gradually ceased to sulk.) 

Bot. Yes I will come, for I would not disappoint the 
Duke. 

Snug, (slapping him on the back). Oh sweet, bully 
Bottom ! 

Quin. In the meantime I will draw a bill of proper- 
ties such as our play wants. But I beg of you, masters, 
tell no one of our design or we shall be dogg'd with 
company and all our devices known before we present 
the play at the Duke's nuptials. 

Bot. Never fear, we shall tell no man. 

Quin. And good masters, get your apparel together, 

16 



good strings to your beards, new ribbons to your pumps ; 
ever}' man look o'er his part for I am sure that our play 
shall be preferred. In any case, let Thisbe have clean 
linen ; and let not him that plays the lion pare his nails, 
for tliey shall hang out of the lion's claws. And, most 
dear actors, eat no onions or garlic, for we are to utter 
sweet breath; and I do not doubt but to hear tliem say 
it is a sweet comedy. 

Bot. Enough, hold or cut tlie bow strings. 

(Exeunt all sIozL'ly, reading and rehearsing their parts 
in pantomime, the lion roaring. Bottom inay^ if desired 
go out, singing the follonnng song entirely out of tune) : 

The ousel-cock so black of hue, 

With orange-tawny bill, 
The throstle with his note so true. 

The wren witli little quill ; — 
The finch, the sparrow and the lark, 

The olain-sono;- cuckoo sxav, 
\Miose note full many a man doth mark. 

And dares not answer nav: — 



ACT II. 

The Palace Grounds. 
(A flourish of trumpets. Theseus, Hippolyta 
and attendants enter. Theseus and Hippolyta 
advance to tJie footlight. The other group 
themselves in the rear.) 

Thes. Now. fair Hippoh-ta, our nuptial hour 

Draws on apace; four happy days bring in 
Another moon: but. O. met'hinks, how slow 
This old moon wanes I she lingers my desires. 
Like to a step-dame, or a dowager. 
Long withering out a young man's revenue. 

Hip. Four days will quickly steep themselves in 
nights ; 
Four nights will quickly dream away the time ; 
And then the moon, like to a silver bow, 

17 



Now bent in heaven, shall behold the night 
of our solemnities. 

Thes. But come. {Leads Hippolyta to seat at R 
front. She seats herself but Theseus remcdns standing.) 

Thes. (looking around). 

What masques, what dances shall we have, 
To wear away this long age of three hours 
Between our after-supper and bed-time? 
What revels are in hand? Is there no play, 
To ease the anguish of a torturing hour? 
(to Demetrius). Call Philostrate. 

(Demetrius steps to Central entrance and summons 
Philostrate. Theseus seats himself. Philostrate enters.) 

Phil, (bowing). 

Here, mighty Theseus. 

Thes. Say, what abridgement have you for this even- 
ing? 
What masque? what music? How shall we 

beguile 
The lazy time, if not with some delight? 
Phil, (handing him a scroll). 

There is a brief how many sports are ripe: 
Make choice of which your Highness will 
see first. 

Thes. (reads). 

The battle with the Centaurs, to be sung 
By an Athenian eunuch to the harp. 

(glancing up) 

We'll none of that: that have I told my love, 
In glory of my kinsman Hercules. — 

(reads) 

The riot of the tipsy Bacchanals, 

Tearing the Thracian singer in their rage. 

(glancing up) 

That is an old device; and it was play'd 
When I from Thebes last came a conqueror. — 

(reads) 

The thrice three muses mourning for the death 

18 



Of Learning, late deceased in beggary. — 

(glajicing up) 

That is some keen satire, keen and critical, 

Not sorting with a nuptial ceremony. — 
(reads) 

A tedious brief scene of young Pyramus 

And his love Thisbe ; very tragical mirth. 
(glancing up) 

Merry and tragical ! tedious and brief ! 

That is, hot ice and wondrous swarthy snow. 

How shall we find, the concord of this discord ? 

Phil (displays great merriment during this speech). 
A play it is, my lord, some ten words long, 
Which is as brief as I have known a play; 
But by ten words, my loi:d, it is too long, 
Which makes it tedious; for in all the play 
There is not one word apt, one player fitted: 
And tragical, my noble lord, it is; 
For Pyramus therein doth kill himself. 
Which, when I saw rehearsed, I must confess, 
Made my eye€ water; but more merry tears 
The passion of loud laughter never shed. 

Thes. What are they that do play it? 

Phil. Hard-handed men, that work in Athens here, 
Who never labored in their minds till now ; 
And now have toil'd their unbreathed memo- 
ries 
With this same play, against your nuptial. 

Thes. And we will hear it. 

Phil. No, my noble lord; 

It is not for you : I have heard it over. 
And it is nothing, nothing in the world; 
Unless you can find sports in their intents. 
Extremely stretch'd and conn'd with cruel 

pain. 
To do you service. 

Thes. I will hear that play; 

For never anything can be amiss, 

* 19 



When simpleness and duty tender it. 
Go, bring them in. 

(Philostrate bozus himself ovit.) 
Thes. Take your places, ladies. 

{Some group themselves behind Theseus and Hippo- 
lyta on the R. Others on the extreme left. Demetrius 
and Lysander stand so that some of Theseus' remarks 
may be addressed to them.) 

Hip. I love not to see wretchedness o'ercharged, 
And duty in his service perishing. 

Thes. Why, gentle sweet, you shall see no such thing. 

Hip. He says they can do nothing in this kind. 

Thes. The kinder we, to give them thanks for noth- 
ing. . 
Our sport shall be to take what they mistake: 
And what poor willing service cannot do, 
Noble respect takes it in might, not merit. 
Where I have come, great clerks have pur- 
posed 
To greet me with premeditated welcomes ; 
When I have seen them shiver and look pale, 
Make periods in the midst of sentences, 
Throttle their practiced accents in their fears. 
And, in conclusion, dumbly have broke off, 
Not paying me a welcome. Trust me, sweet. 
Out of this silence yet I pick'd a welcome 
And in the modesty of fearful duty 
I read as much from the rattling tongue 
Of saucy and audacious eloquence. 
Love, therefore, and tongue-tied simplicity, 
In least, speak most, to my capacity. 

{Re-enter Philostrate.) 

Phil, (bozving). 

So please your Grace, the Prologue is ad- 
dress'd. 

Thes. Let him approach. 

(Philostrate steps to the entrance at C. Flourish of 
trumpets from ivithout. Quince enters.) 

20 



Qiiin. If we offend, it is with our good will. 

.That you should think, we come not to offend, 
But with good will. To show our simple skill. 
That is the true beginning of our end. 
Consider, then, we come but in despite. 
We do not come as minding to content you. 
Our grue intent is. All for your delight. 
We are not here. That you should here re- 
pent you, 
The actors are at hand ; and by their show. 
You shall know all that you are like to know. 

(Quince bozvs and exit.) 

Thes. This fellow does not stand upon points. 

Lys. He has rid his prologue like a rough colt; he 
knows not the stop. A good moral, my lord: it is not' 
enough to speak, but to speak true. 

Hip. Indeed he has play'd on his prologue like a 
child on a recorder ; a sound, but not in government. 

Thes. His speech was like a tangled chain; nothing 
impaired, but all disordered. Who is next? 

{Enter Quince as the Presenter zvith Py ramus and 
Thisbe, Wall, Moonshine, and Lion. The Lion is fright- 
ened and tries to run azt^ay hut the others pull him on. 
During the presentation of the Play, the spectators 
should act as spectators zuould naturally act under the 
circumstances. They should shozv their appreciation of 
the good points and rezvard the actors zuith frequent 
applause.) 

Quin. Gentles, perchance you wonder at this show; 
But wonder on, till truth makes all things 

plain. 
This man is Pyramus, if you would know; 
{Py ramus steps forzvard and hozvs lozju.) 
This beautious lady, Thisbe is certain. 
(Thisbe steps forzvard and bozvs.) 
This man ( Wall steps forzvard) with loam and 

rough cast, doth present 

21 



Wall, that vile wall which did these lovers 

sunder ; 
And through wall's chink, poor souls, they are 

content 
To whisper ; at the which let no man wonder. 
This man, (Moonshine steps forward) with 

lantern, dog and bush of thorns, 
Presenteth Moonshine; for, if you will know, 
By moonshine did these lovers think no scorn 
To meet at Ninus' tomb, there, there to woo. 
This grisly beast, which lion hight by name, 
(Lion is pushed forward by his companions) 
The trusty Thisbe, coming first by night. 
Did scare away, or rather did affright; 
And, as she fled, her mantle she did fall. 
Which Lion vile with bloody mouth did stain. 
Anon comes Pyramus, sweet youth and tall, 
And finds his trusty Thisbe's mantle slain: 
Whereat, with blade, with bloody blameful 

blade, 
He bravely broached his boiling bloody breast ; 
And Thisbe, tarrying in the mulberry shade, 
His dagger drew, and died. For all the rest, 
Let Lion, Moonshine, Wall, and lovers twain, 
At large discourse, while here they do remain. 

(Bxeunt Quince, Pyramus, 7^hisbe, Lion and Moon- 
shine. Wall remains. Audience applauds.) 

Thes. I wonder if the lion be to speak. 

Dem. No wonder, my lord: one lion may, when 
many asses do. 

Wall, (coming forward). 

In this same interlude it doth befall 
That I, one Snout by name, present a wall; 
And such a wall as I would have you think, 
That had in it a crannied hole or chink. 
Through which the lovers, Pyramus and 

Thisbe, 
Did whisper often secretly. 

22 



This loam, this rough cast, and this stone, 

doth show 
That I am that same wall ; the truth is so : 
And this, the cranny is, right and sinister, 
{Holds out two Ungers.) 
Through which the fearful lovers are to 

whisper. 

Thes. (Jo Demetrius). Would you desire lime and 
hair to speak better? 

Dem. It is the wittiest partition that ever I heard 
discourse, my lord. 

(Pyramus appears at C.) 

Thes. Pyramus draws near the wall : silence ! 

Pyr. O grim-look'd night ! O night with hue so 
black ! 
O night, which ever art when day is not ! 

night, O night ! alack, alack, alack, 

1 fear my Thisbe's promise is forgot ! — 
And thou, O wall, O sweet and lovely wall, 
That standst between her father's ground and 

mine ! 
Thou wall, O wall, O sweet and lovely wall, 
Show me thy chink, to blink through with 

mine eyne ! 

{The Wall holds up Ungers. Pyramus bows low.) 

Thanks, courteous wall : Jove shield thee well 
for this. 

(Looks through the chink.) 

But what see I? No Thisbe do I see. 

O wicked wall, through whom I see no bliss ! 

Cursed be thy stones for thus deceiving me. 

{These verses and those which follow should be given 
in a mock-heroic style, with great declamatory effect and 
many gestures.) 

Thes. {to Hippolyta). The wall, methinks, being 
sensible, should curse again. 

{Pyramus hears the remark and turns to Theseus.) 

23 



Pyr. No, in truth, sir, he should not. Deceiving me 
is Thisbe's cue : She is to enter now, and I am to spy 
her through the wall. -You will see that it will fall pat 
as I told you. 

(Thisbe appears at C.) 

Pyr. Yonder she comes. 

This. O wall, full often hast thou heard my moans. 
For parting my fair Pyramus and me ! 
My cherry lips have often kissed thy stones. 
Thy stones with lime and hair knit up in thee. 

Pyr. ( listening ) . 

I see a voice : now will I to the chink, 
To spy an I can hear my Thisbe's face. — 
Thisbe! {calls through the chink). 

This. My love ! thou art my love, I think. 

Pyr. Think what thou wilt, I am thy lover's grace; 
And, like Limander, am I trusty still. 

This. And I like Helen, till the Fates me kill. 

Pyr. Not Shafalus to Procrus was so true. 

This. As Shafalus to Procrus, I to you. 

Pyr. O, kiss me through the chink of this vile walU 

{They attempt to kiss.) 

This. I kiss the wall and not your lips at all. 

Pyr. Wilt thou at Ninny's tomb meet me straight- 
way? 

This. 'Tide life, 'tide death, I come without delay. 
(B.reunt Pyramus and Thisbe both at C.) 
Wall. Thus have I, w^all, my part discharged so ; 
And, being done, thus wall away doth go. 

(B^'it Wall at C. Applause.) 

Thes. (to Demetrius). Now is the mural down be- 
tween the two neighbors. 

Dem. No remedy, my lord, when walls are so wilful 
to hear without warning. 

24 



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Hip. {in disgust). This is the silHest stuff that e'er 
I heard. 

Thes. (to Hippolyta). The best in kind are but 
shadows ; and the worst are no worse, if imagination 
amend them. 

Hip. It must be your imagination then, not theirs. 

Thes. If we imagine no worse of them than they of 
themselves, they may pass for excellent men. 

{Lion and Moonshine appear at C.) 

Thes. Here come two noble beasts, a man and a lion. 

Lion, {evidently frightened) . 

You, ladies, you, whose gentle hearts do fear 
The smallest monstrous mouse that creeps on 

floor, 
May now perchance both quake and tremble 

here, 
While lion rough in wildest rage doth roar. 
Then know that I one Snug the Joiner am, 
No lion fell, nor else no lion's dam; 
For, if I should as lion come in strife 
Into this place, 'twere pity on my life. 

Thes. {to Demetrius.) A very gentle beast, and of 
a good conscience. 

Dem. The very best at a beast, my lord, that e'er 
I saw. 

Lys. This lion is a very fox for his valour. 

Thes. {to Ly Sander). True; and a goose for his 
discretion. 

Dem. Not so, my lord; for his valour cannot carry 
his discretion; and the fox carries the goose. 

Thes. His discretion, I am sure, cannot carry his 
valour; for the goose carries not the fox. It is well: 
leave it to his discretion; and let us listen to the Moon. 

{Starveling carries a lantern fastened on a pole, a 
bundle of thorns and leads a dog. By slightly changing 
Starveling's speeches, the dog may he dispensed with. 
Starveling has an excellent opportunity for by-play in 

26 



his effort to manage all his paraphernalia.) 

Moon. This lantern doth the horned Moon present; — 

Dem. (to Theseus). He should have worn the horns 
on his head. 

Thes. He is not crescent, and his horns are invisible 
within the circumference. 

Moon. This lantern doth the horned moon present; 
Myself the Man in the Moon do seem to be. 

Thes. {to Demetrius, laughing). This is the great- 
est error of all the rest: the man should be put into the 
lantern. How is it else the Man in the Moon? 

Dem. He dares not come there for the candle; for, 
you see, he is already in snuff. 

Hip. {in disgust). I am a-weary of this Moon: 
would he would change ! 

Thes. {to Hippolyta). It appears, by his small light 
of discretion, that he is already in the wane; but yet, 
in all courtesy, we must stay the time. 

Lys. Proceed, Moon. 

Ado on. All that I have to say is, to tell you that the 
lantern is the Moon ; I, the Man in the Moon ; this thorn 
bush, my thorn bush ; this dog, my dog. 

Dem. Why, all these should be in the lantern ; for all 
these are in the Moon. 

{Thishe appears at C.) 
Dem. But, silence ! here comes Thisbe. 
This. This is old Ninn3^'s tomb, (looks around). 
Where is my love? 

(The Lion has been wandering about uneasily. He 
now rushes on Thisbe roaring. . Thisbe shrieks, drops 
her mantle and runs off. Great applause and laughter on 
the part of the spectators.) 

Dem. Well roar'd lion. 

Thes. Well run, Thisbe. 

Hip. Well shone. Moon. — (to Theseus) Truly the 
moon shines with a good grace. 

26 



{Lion tears Thishe's mantle.) 

Thes. Well moused, lion. 

(B.rit lion.) 

Lys. And so the lion vanished. 

(Py ramus appears at C.) 

Dem. And then came Pyramus. 
Pyr. {addressing the Moon). 

Sweet Moon, I thank thee for thy sunny 

beams ; 
I thank thee, Moon, for shining now so 

bright ; 
For, by thy gracious, golden, glittering 

gleams, 
I trust to taste of truest Thisbe's sight. 

(discovers Thishes mantle. Starts hack in horror.) 

But stay, — O spite! — but mark, poor knight, 
What dreadful dole is here ! 
Eyes, do you see? how can it be? 
O dainty duck! O dear! 

{Takes up her mantle and holds it to his breast.) 

Thy mantle good, what, stain'd with blood? 
Approach, ye Furies fell ! 
O Fates, come, come, cut thread and thrum; 
Quail, crush, conclude and quell! 
Thes. (to Hip poly ta, trying to restrain his laughter). 
This passion, and the death of a dear friend, would go 
near to make a man look sad. 

Hip. Beshrew my heart but I pity the man. 
Pyr. O, wherefore. Nature, didst thou lions frame? 
Since lion vile hath here deflower'd my dear: 
Which is — no, no, — which was the fairest 

dame 
That lived, that loved, that liked, that look'd 
with cheer. 

{Pyramus forgets his part at ''Which is — no, no, — 
zvhich was" and is compelled to consult his scroll.) 

27 



Pyr. {continues). 

Come, tears, confound; out, sword and wound 
The pap of Pyramus, — {draws his sword.) 
Ay, that left pap, where heart doth hop; 
Thus die I, thus, thus, thus. (Stabs himself.) 
Now am I dead, now am I fled; 
My soul is in the sky: 

Tongue, loose thy light ! Moon take thy flight ! 
{zvaves to the Moon to withdrazv. Bxit Moon.) 
Now die, die, die" die, die. {Applause.) 

(Pyrafmts dies very deliberately. After stabbing him- 
self repeatedly he sinks to the floor, arranging himself 
in a comfortable position.) 

Dem. (laughing). Not die, but an ace for him; for 
he is but one. 

Lys. (to Demetrius). Less than an ace, man; for he 
is dead; he is nothing. 

Thes. (to Ly Sander). With the help of a surgeon 
he might yet recover and prove an ass. 

Hip. (to Theseus). How chance Moonshine is gone 
before Thisbe comes back and finds her lover? 

Thes. She will find him by starlight. 
(Thisbe enters at C.) 

Thes. Here she comes ; and her passion ends the play. 

Hip. Methinks she should not use a long one for 
such a Pyramus : I hope she will be brief. 

Dem. A mote will turn the balance, which Pyramus, 
which Thisbe, is the better; he for a man, God warrant 
us, — she for a woman, God bless us. 

(Thisbe has been looking around and finally she spies 
Pyramus. ) 

Lys. She hath spied him already with those sweet 
eyes. 

Dem. And thus she m.oans, videlicit: 
(Thisbe kneels beside Pyramus and shakes him.) 

28 



This'. Asleep, my love? what dead my dove? 
O Pyramus, arise ! 
Speak, speak. Quite dmiib? Dead, dead? a 

tomb 
Must cover thy sweet eyes. 
These lily lips, this cherry nose, 
These yellow cow^slip cheeks. 
Are gone, are gone : lovers, make moan : 
His eyes were green as leeks. 
O Sisters Three, come, come to me, 
With hands as pale as milk; 
Lay them in gore, since you have shore 
With shears his thread of silk. 
Tongue, not a word : come, trusty sword ; 
Come, blade, my breast imbrue : (Stabs her- 

. self.) 
And, farewell, friends, — thus Thisbe ends, — 
Adieu, adieu, adieu. (Dies.) 

(The possibilities of this speech zvill be evident. Thisbe 
stabs herself with Pyramus' sword which she has great 
difficulty in securing as Pyramus has fallen upon it. 
After stabbing herself, Thisbe turns with ''Farewell, 
friends,'' and bows to the spectators. She then falls 
across the body of Pyramus. Spectators loudly applaud.) 

Thes. Moonshine and Lion are left to bury the dead. 

Dem. Ay, and Wall, too. 

Bot. (starting up and addressing the Duke). No. I 
assure you; the wall is down that parted their fathers. 
Will it please you to see the epilogue, or to hear a Bergo- 
mask dance between two of our company? 

Thes. (to Bottom). No epilogue, I pray you; for 
your play needs no excuse. Never excuse; for when 
the players are all dead, there need none to be blamed. 
(Turns to Hippolyta.) Marry, if he that writ it had 
play'd Pyramus and hanged himself in Thisbe's garter, 
it would have been a fine tragedy. (7\irns again to 
Bottom.) And so it is, truly; and very notably dis- 
charged. But, come, your Bergomask : let your epilogue 
alone. 

29 



{The Bergomask zvas a rustic dance in imitation of 
the people of Bergamasco, a province in the state of 
Venice, zvho are ridiculed as being more clownish in 
their manners and dialect than any other people of Italy. 
The dance may he omitted; in that event, Theseus omits 
his last speech, Bottom assists Flute to his feet, they how 
and retire. — Theseus and Hippolyta rise.) 

Thes. The iron tongue of midnight hath told twelve: 
Lovers to bed; 'tis almost fairy-time. 
I fear we shall outsleep the coming morn, 
As much as we this night have overwatch'd. 
This palpable-gross play hath well beguiled 
The heavy gait of night. — Sweet friends, to 

bed.— 
A fortnight hold we this solemnity 
In nightly revels and new jollity. 

(Exeunt Theseus and Hippolyta, with their retinue 
to music.) 



30 



Entertainments and Novelties 



PRINCESS KIKU, The. A Japanese Romance. 25 cents. A 

costume entertainment in 6 scenes, by M. P. Hutchinson, g female speaking parts 
and 4 moonbeam fairies; as many extra girls as desired may be employed should the 
march be introduced as suggested. The scenery and costumes are fully explained 
and can be easily arranged. This entertainment is a faithful portrayal of the quaint 
manaers and style of conversation of Japanese young ladies. A pleasing plot is woven 
into the entertainment, and many novel Japanese sajings and pro.erbs are intro- 
duced. It is specially recommended for girls' schools and church entertainments. 

AUNT DINAH'S QUILTING PARTY. 25 cents. An original 

entertainment in i scene, by Bettine K. Phillips. 5 male, 11 female characters* 
girls and boys any number. Scene, i interior; costumes, simple and eccentric. I'his 
is a country village entertainment, introducing well-known types, such as old maid, 
deacon, bad boj'-, village gossip, etc. Local hits may be introduced, and with songs 
and specialties may extend the entertainment to act a whole evening. 

GYPSIES' FESTIVAL, The. 25 cents, a musical entertainment 
for young people. Introduces the Gypsy Queen, Fortune Teller, Yankee Peddler, 
and a chorus of gypsies, of any desired number. The scene is supposed tob^ a Gyp?y 
Camp. The costumes are very pretty, but simple • the dialogue bright; mo music 
easy and tuneful ; and the drill movements and calisthenics are graceful. Few prop- 
erties and no set scenery required, so that the entertainment can be represented on 
any platform. 

OVER THE GARDEN ^ALL. 15 cents, a musical burlesque, 
by W. D. Felter. 6 male and 5 female principal characters (" artists "), with a chorus 
of 6 persons (3 ladies, 3 gentlemen) and 2 pages (little boys). Requires no scenery — a 
paper-muslin " wall," decorated with a few evergreens, forming the entire stage set- 
ting. The program consists of a number of specialties (including the author's well- 
known monologue, "Man Wanted," and the experiences of Cynthia Sniggins from 
Wiggletown) with various choruses and burlesque living pictures. Almost any num- 
ber of young people can take part in the show, which is warranted to alleviate the 
most obstinate case of dyspepsia in 60 to 90 minutes. 

BUNCH OF ROSES, A. 15 cents, a burlesque musical entertainment 
in I act, by W. D. Felter. i male, 13 female characters. Time of performance 
about 1% hours. This is a miscellaneous programme rendered for the benefit of " The 
Free Ice Fund for the Philippine Islanders." It includes various "'specialties," living 
pictures, Mother-Goose chorus, etc., and concludes with a burlesque operetta entitled 
Johnny Jones." The Roses, the Rosebuds and the Only Young Man in town make 
up an entertainment that cannot fail to excite continuous mirth for the better part of 
an evening. 

^ SWEET FAMILY, The. 15 cents, a burlesque entertainment in i 
act, by W. Felthr. 8 female characters. Requires no scenery, a melodeon and a 
row of seven chairs on a platform being the only essentials. Time, about i hour. 
This wonderful family consists of "il/a " Sweet and her seven interesting daughters of 
various ages and accomplishments, who render a varied program, musical, literary and 
otherwise. Besides the several songs, elocutionary selections, etc., there are a Kazo© 
chorus, a laughable "poetic medley," a mimic lecture on "Woman's Sp'ere " and 
other amusing specialties. The piece is a clever medley that will tickle the risibilities 
of anybody capable of enjoying life. 

BELLES OF BLACKVILLE, The. 15 cents. A minstrel show for 

dusky dames, by N. H. Pei.ham. A complete minstrel entertainment for female 
impersonators, that includes all the essential features of a burnt cork programme — 
bright and new jokes, droll conundrums, popular songs, graceful dances and novel 
specialties, with a comical afterpiece for a whole company entitled Patchwork, 
which will afford a clever medium for "specialty" stars. The book is not a mere 
string of suggestions, but an entire entertainment for 30 (or fewer) young ladies, that 
will run about two hours. 

NO PLAYS EXCHANGED 



DEO 9 1912 



Two Plays for Boys. 

By SEYMOUR S. TIBBALS. 

Mr. Tibbals has been unusually successful in 
furnishing boys' plays that introduce characters true 
to life. While the plays are strong and forceful in 
the lessons they teach, clean comedy predominates 
and the boys like them. 

''The Millionaire Janitor." 

A comedy in two acts. Here is a rollicking play 
for eight or more boys with plenty of action. Just 
the thing for a Boys' Class or Junior Y. M. C. A 
Easily staged and costumed. Opportunity for in- 
troduction of musical numbers and recitations. By 
introducing such features the play may be used for 
an entire evening's entertainment. 

PRICE 25 CENTS. 



'<Up Caesar's Creek." 

A splendid play for any number of boys. The 
characters are real boys and the play deals with 
their experiences while camping up Caesar's Creek 
the performance closing with a minstrel show in 
camp. Costumes and scenery are not elaborate 
and the play may be produced on any stage. 

PRICE 25 CENTS. 

These comedies are protected by cop5Tight, but 
permission for amateur production is granted with 
the purchase of the book. 



ELDRIDGE ENTERTAINMENT HOUSE, 

F'RAISKUIIS. - OHIO. 






F^Om VOUR WBXTr 



CHURCH BBIVEFI19 

£i!!L Village Postoff ice 

By SEYMOUR S. TIBBAi^* 



This is a pleasing comedy introducing any num» 
ber of characters and especially adapted for a 
church» school or lodge benefit. The Presbyterian 
Church, at Franklm. Ohio» used it last wmter and 
cleared $250. The play gave splendid satbfac- . 
tion and helped the church socially as well as 
financially. 

Something About the Play. 

The action takes place in a country postoffice and 
the various characters come and go. The parts are 
nearly all short, only a few of them running through- 
out the entire play. In this way a number of 
adults and children may be used and the interest 
in the entertainment greatly widened. The cos- 
tumes may be made very funny with no expense. 
There are ample opportunities for the introduction 
of songs, choruses, recitations and drills, thus afford- 
ing a varied program. The scenery is easily ar- 
ranged and the play can be produced on any stage. 
The author having had experience on both the 
professional and amateur stage has produced one 
of the best amateur entertainments we have ever 
seen in "At the Village Postoffice." 

The rights of production go with the purchase 
of the book and you do not have to give up 50 
per cent, of your receipts to a trainer or producer. 

PRICE 25 CENTS. 

Eldridge Entertainment House 

FRANKI^IN, - OHIO 



LIBRARY OF CONGRESS 



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"The Best Amateur Oomlc Opera oa the Marketr^ 
Daytoa, Ohio. 



'lEfje Captain of Pj>moutli 

$p ^^mour &. tS^ibMi^ anb Hart? C. CHiriDilie. 

M €tmit 0ptm in tEifxtt Mtti. 



^gpOUNDED on that beautiful poem "The Courtship dF Miles 
fj^ Slandish/* it preserves the charmmg love slcMy of John Alden 
and Priscilla and adds much to the humor by delightFuUy burlesquing 
the invincible, boastmg Captain, Miles Standish. 

Jt v^as presented as the big Commencement Feature at the 
Carlisle Industrial School, the government school "lor Indians, last 
Spring. Claude M. Stauffer, musical director at Carlisle says: "It 
was a great success* The best performance ever given at Carlisle.* 
Eastern newspapers were unanimous in praise of the opera. 

We cannot tell you here of the bright dialog, the singable, fresh,' 
sparklmg music. Better send for a copy for examination. 

Sent to responsible parties on receipt of 7 cents, to pay post- 
age, which we will deduct from price, if purchased. 



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^tore mi) Hitiretto Complete. 

$1.00 Per Copp. 

Rights of presentation can be secured only through 

Eldridge Entertainment House 

FRANKLIN - OHIO. 

**I wish to congratulate you upon "The Captain of Plymouth." It is 
a good, clean addition to the list of bright, practicable things for High 
Schools. The libretto is quick and incisive, the music spontaneous and 
tuneful. An atmosphere of wholesome fun prevades the work and is very 
refreshing.—Prof . Wil' Earhart, Superintendent of The Robert Foresman 
School of Methods in Music, Chicago, 111. 



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